• The Journal of the Korean life insurance medical association
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• v.2 no.1
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• pp.152-181
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• 1985

A statistical analysis on the cardiothoracic ratio in insurance medicine was carried out for 5,200 insured persons who were medically examined including photofluorography of the chest at the Honam medical department, Dong Bang life insurance Company, Ltd from November, 1979 to August, 1984. The results were as follows: 1. The mean value of the cardiothoracic ratio in all of the insured was $44.2{\pm}4.3%$. The mean value of the cardiothoracic ratio was $43.1{\pm}4.1%$ in all males and $45.2{\pm}4.2%$ in all females, and the difference of the values between males and females showed statistical significance(P<0.001). In each age group, the mean value of the cardiothoracic ratios of female was higher than that of male without exception and the difference of the values between males and females showed statistical significance(P<0.001). The mean value of the cardiothoracic ratio showed gradual increase with age from the second to sixth decade in male(P<0.05 or 0.001 after fourth decade) and from the second to seventh decade in female(P<0.05 or 0.001 from the second to sixth decade). 2. Correlation between both sexes and among age groups relating to the cardiothoracic ratios of the insureds seen to be a physiological phenomenon of the cardiac size and should be considered on the rating of the cardiothoracic ratio. Based on the correlation above mentioned and an author's assumption that the incidence of normal and abnormal cardiothoracic ratios in each age group would show the same rate in male and female, author prepared a modified rating table from the existing table; in male group the existing rating table is used and in female group the ratings of 0, 30-50, 50-100 and 100-D are to calculate by the cardiothoracic ratio of 51%or under, 52-56%, 57-61% and 62% or over respectively in the age group below 39, by the cardiothoracic ratio of 52% or under, 53-57%, 58%-62% and 63% or over respectively in the age group of 40-49, by the cardiothoracic ratio of 53% or under, 54-58%, 59-63% and 64% or over respectively in the age group over 60. 3. The relative frequency distribution polygons of the cardiothoracic ratio of both sexes drawn in a pair on one coordinate plane revealed lying in juxtaposition each other horizontally and showed the shifting of females polygon to male's one toward the direction of greater value of the cardiothoracic ratio at a short distance which increased gradually with age. 4. The minimum cardiothoracic ratio was 31.2% and the maximum cardiothoracic ratio was 63.6% in all of the insured. 5. In each age group, no significant sex difference was found in the relative frequency distribution of ratings by the cardiothoracic ratios of 5,200 insureds by using the rating table modified by author, while significant sex difference was found by using the existing rating table.

• English Language & Literature Teaching
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• no.4
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• pp.249-267
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• 1998

"The Waste Land" is Eliot's best known poem. It was first published in 1922 and became a famous poem in modem poetry by the 1940's. The poem is a statement of his personal experience with spiritual crisis, this simple outline is complicated and universalized by being set within the structure of 'the Fisher King legend'. The fisher King legend was studied by Miss Weston in From Ritual to Romance and Sir James Frazer in The Goldon Bough which traced the vegetation myths. It explained the cycle of the seasons in relation to the death and rebirth of a god. The god died in the winter with the death of the vegetation and was reborn in the spring with the rebirth of the vegetation. Sir James Frazer reaced these ancient rituals within the Christian world. He indicated that the death and rebirth of Christ falls within the pattern of this ancient ritual. Also Miss Weston transformed that ancient ritual into Christian terms, and connected it with the Quest for the Holy Grail. Eliot used not only the title, but the plan and a good of the important symbolism of the poem from these two books. "The Waste Land" is a difficult one because of the numerous interruptions in the narrative. On the superficial level, the story covers a 12-hour period in a day. It is also in "the stream of consciousness." It might be called the internal monologue; that is, "the free association of ideas in the mind of the narrator," Eliot experiments with both the idea of time and with the stream of consciousness, He employs a number of quotations and allusion from the Classic literature. So, his technique in "The Waste Land" consists of the juxtaposition of the present with mythcism and religious symbolism derived from the past. The structure of the poem is built out of the contrasts in time. The poem illustrates his conception of the past as an active part of the present. "The Waste Land" has "a symphonic structure" composed of five parts, which are linked by the repeated themes. The theme is the death and salvation of the Waste Land. It is drawn from the Fisher King myths. Moreover, he has absorbed into the structure of this poem the language, phrases, and associations of other writers. It gave the poem the universality both of theme and of pattern. Also, his intricate and fine techniques added the universality to the poet's personal material. At last, the verse pattern of the poem follow the same basic structure as the thematic patterns. Again in symphonic style, the verse varies from section to section. The interruption of real time is associated with the flow of consciousness. Though the poem is a complex structure, there are the interweavings of a great deal of ideas into a simple, brief statement. By these poetic techniques the poem manages to have good harmony and unity between the thematic pattern and narrative structure. "The Waste Land" therefore, became the greatest poem in the 20th century modern world.

• Journal of the Society of Cosmetic Scientists of Korea
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• v.37 no.1
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• pp.23-36
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• 2011

The purpose of this study is to make theoretical examinations into the makeup trend shown in digital communication environment and thereby determine potential associations of makeup trend with digital communication environment and characterize said trend, so that it can provide reference materials required for follow-up studies. This study comes to the following findings: First, it is found that there are sociocultural characteristics of digital communication environment, such as interactivity, technology-orientedness, sentiment-orientedness and mixture of time and space. Secondly, it is found that trends developed in makeup fall categorically into interactivity, virtuality, amusement and mobility. Thirdly, it is found that each type of digital communication adopts a mixture and juxtaposition of contemporary styles or categories with traditional ones through eclectic combination based on open-minded and horizontal ideas. Fourthly, it is found that a trend from digital communication environment doesn't coincide perfectly with any makeup trend, but the former trend works interactively and organically with the latter trend on the basis of homogeneity and similarity within a general framework that represents external esthetics of human being. With the creation of digital communication environment, our contemporary society forms as the complex phenomena of digital society in a combination and destruction of different categories beyond any certain international boundary, so that a hybrid tendency appears in contemporary makeup trend as well. Based on these findings, this study has its implications in the sense that it gives a new viewpoint based on design, formative characteristics and expression styles of makeup, and also provides useful reference materials for related industrial sectors.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.102-112
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• 2010

By understanding physiological characters of plants and the environment, plant design should decide the relationship with other plants from the designer's curiosity of the plant's color, texture, form and other aspects. There are a traditional tendency that many designers put the plant's color ahead of other aspects. This study explores 4 gardens of Gertrude Jekyll's Munstead Wood, Vita Sackvill-West's Sissinghurst, Christopher Lloyd's Grest Dixter and Lawrence Johnston's Hidcote Manner. The flower border of Munstead is started with light grey and blue at the edge and it gets stronger colors like red and orange as the line comes to the middle. It is noticeable that white an blue colors were used unlike before. Sissinghurst made use of purple color which was very seldom used before and Dixter added orange to magenta color that was already there, giving a strong visual effect and through juxtaposition it could realize the wanted effect. A strong red border line was created in Hidcote Manner. Above mentioned designers arranged various colors so that visitors can experience different spacial senses according to observer's direction. In the cognitive space the main color and the secondary color arranged leading to the fact that the observer recognizes it as a whole. In plant design time means seasonal performance which influences the main color arrangement like gradation or contrast. Moreover, space determines the color's zone when it comes to plant design.

• Cross-Cultural Studies
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• v.51
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• pp.193-212
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• 2018

This paper attempts to explore how Ang Lee depicts Asian and Western women in his films. We focus on two parts of his consciousness First, Ang Lee does not consider himself a feminist, he understands the world in terms of women who play societal roles. Second, Ang Lee's films reflect his identity in a juxtaposition model, in which he is a member of mainstream American society and also holds an onlooker's viewpoint at the same time. He depicts women, who are often marginalized or considered the minority, and their feminist ideals, as means that break down the authority of the father and the man, the traditional ideology, and the male dominant nationalism. Chinese women in movies divide apart traditional Chinese patriarchal ideology and male-dominated anti-Japanese sentiments. Also, the Western women in his films reveal the non-stereotypical appearance of Western society in the 1970s and 1980s, with daily tension, anxiety, abdominal pain and anger, silence and anxiety about homosexual husbands, and excessive obsession. The director's portrayal of women not only separates the male-centered and Western-centered discourse, but also reveals a self-division of internalized masculine patriarchal Asian thought consciousness.

• Economic and Environmental Geology
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• v.46 no.4
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• pp.313-327
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• 2013

In the study, three-dimensional geostatistical simulations on McMurray Formation which is the largest oil sand reservoir in Athabasca area, Canada were performed, and the optimal site for steam assisted gravity drainage (SAGD) was selected based on the predictions. In the selection, the factors related to the vertical extendibility of steam chamber were considered as the criteria for an optimal site. For the predictions, 110 borehole data acquired from the study area were analyzed in the Markovian transition probability (TP) framework and three-dimensional distributions of the composing media were predicted stochastically through an existing TP based geostatistical model. The potential of a specific medium at a position within the prediction domain was estimated from the ensemble probability based on the multiple realizations. From the ensemble map, the cumulative thickness of the permeable media (i.e. Breccia and Sand) was analyzed and the locations with the highest potential for SAGD applications were delineated. As a supportive criterion for an optimal SAGD site, mean vertical extension of a unit permeable media was also delineated through transition rate based computations. The mean vertical extension of a permeable media show rough agreement with the cumulative thickness in their general distribution. However, the distributions show distinctive disagreement at a few locations where the cumulative thickness was higher due to highly alternating juxtaposition of the permeable and the less permeable media. This observation implies that the cumulative thickness alone may not be a sufficient criterion for an optimal SAGD site and the mean vertical extension of the permeable media needs to be jointly considered for the sound selections.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.2
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• pp.90-103
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• 2009

The poem 'Kyungjusipiyung(慶州十二詠)' written by Seo, Geo-jeong(徐居正) describes sentiments felt for the ruined historical and cultural landscape of Silla's capital city, Kyungju. It differs from the existing 'Eight Sceneries(八景)' as it conveys the strong metaphorical aesthetics of ruins as the episodes and figures are sung, as well as the myths and stories related to the representative holy places of the Silla culture: Gyelim(鷄林), Banwolseong(半月城), Najeong(蘿井), Oneung(五陵), Geumosan(金鰲山), the scenic beauty of deep placeness, Poseokjeong(鮑石亭), Mooncheon(蚊川), Cheomseongdae(瞻星臺), Boonhwangsa(芬皇寺), Youngmyosa(靈妙寺) and Grave of the General Kim Yu-Sin(金庾信墓). Compared with the former "Eight Sceneries" Poems, including Seo Geojeong's 'Kyungjusipiyung', there is a difference in the content of theme recitation, as well as in structure and form, especially with the deep impression of the classical features of the meanings and acts. The sequence of theme recitation seems to be composed of more than two visual corridors visited during trips that last longer than two days. The dominant emotions expresses in this poem, through written in the spring, are regret and sadness such as 'worn', 'broken and ruined', 'old and sad', without touching on the beauty of nature and the taste for life that is found in most of the Eight Sceneries Poems. Thus, the feelings of the reciter himself, Seo, Geo-jeong, about the described sceneries and their symbolism are more greatly emphasized than the beauty of form. The characteristic aspect of his experiences of ruins expressed from 'Kyungjusipiyung' is that the experiences were, first of all, qualitative of the aura conveyed; that is, the quality omnipresent throughout the culture of Silla as reflected in the twelve historical and cultural landscapes. In this poem, the cultural ruins of the invisible dimension such as the myths and legends are described by repetition, parallelism, juxtaposition, reflection and admiration from the antiphrases, as well as the civilized ruins of the visible dimension such as the various sceneries and features of Kyungju. This seems to be characteristic of the methods by which Seo, Geo-jeong appreciates 'Silla' in the poem 'Kyungjusipiyung'. Ruins as an Aesthetic Object imply the noble pride of Seo, Geo-jeong in identifying himself with the great nature of ruins. In 'Kyungjusipiyung', the images of the ruins of Silla and Kyungju are interspersed in spite of his positive recognition of 'the village of Kyungju' based on his records. However, though the concept of ruins has a pessimistic tone connoting the road of extinction and downfall, the aspect here seems to ambivalently contain the desire to recover and revive Kyungju through the Chosun Dynasty as adominant influence on the earlier Chosun's literary tide. The aesthetics of the scenery found in Seo, Geo-jeong's 'Kyungjusipiyung' contain the strongest of metaphor and symbolism by converting the experiences of the paradoxical ruins into the value of reflective experiences.

• The Journal of the Korean life insurance medical association
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• v.2 no.1
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• pp.195-217
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• 1985

A statistical analysis on the ratio of weight-for-height in insurance medicine was carried out in a total of 12,690 insured persons who were medically examined at the Honam medical department, Dong Bang life insurance company, ltd. from June, 1979 to February, 1984. The results were as follows: 1. The mean value of the ratio of weight-for-height(W/H ratio) was $102.3{\pm}11.3%$ in all males, and $105.2{\pm}103.6%$ in all females. The difference of the values between males and females showed statistical significance(P<0.001). The mean value of W/H ratio in all the insureds was $103.8{\pm}12.9%$. In each age group, the mean value of female was higher than that of male without exception(P<0.001). The mean value of both sexes in each age group showed gradual increase with age except for the age group over 50(P<0.001). 2. The incidences of the average weighted, overweighted and underweighted lives were respectively 91.6% in all males, 84.2% in all females(P<0.001); 7.9% in all males, 15.4% in all females(P<0.001); 0.5% in all males, 0.4% in all females(P>0.05). The incidences of average weighted, overweighted and underweighted lives in all the insureds were respectively 87.6%, 12.0% and 0.5%. The incidence of the average weighted lives in male in each age group was always higher than that in female with the exception of the age group below 19(P<0.001), whereas the incidence of the overweighted lives in male in each age group was always lower than that in female(P<0.05 in the age group below 19, P<0.001 in the other age groups). The incidence of average weighted lives of both sexes in each age group showed gradual decrease with age from the second to fifth decade(P<0.001), whereas the incidence of the overweighted lives of both sexes in each age group showed gradual increase with age from the second to fifth decade(P<0.001). 3. The relative frequency distribution polygons of W/H ratio of both sexes drawn in a pair on one coordinate plane revealed lying in juxtaposition each other horizontally and showed the shifting of female's polygon to male's one toward the direction of greater value of W/H ratio at a short distance which increased gradually with age. 4. Correlations between both sexes and among age groups relating to W/H ratios of the insureds seem to be a physiological phenomenon of body build and should be considered on the rating of the build. Author prepared a rating table of build based on the correlations above menthioned. Some gradients by sex and age in the rating table of build are organized; in female group, the ratings of 0, 30-50, 50-100 and 100-D are to calculate by the build with W/H ratio of 80-125%, $126{\sim}145%,\;146{\sim}165%$ and over 166% respectively in the age group of 29 or under, by the build with W/H ratio of $80{\sim}130%,\;131{\sim}150%,\;151{\sim}170%$ and over 171% respectively in the age group of $30{\sim}59$, and by the build with W/H ratio of $80{\sim}135%,\;136{\sim}155%,\;156{\sim}175%$ and over 176% respectively in the age group of 60 or over. In male group, the ratings of 0, $30{\sim}50$, 50-100, and 100-D are to calculate by the build with W/H ratio of $80{\sim}120%,\;121{\sim}140%,\;141{\sim}160%$ and over 161% respectively in all ages. Of under weighted lives, in both sexes, the ratings of 30-50 and 50-D are to calculate by the build with W/H ratio of $76{\sim}79%$ and under 75% respectively. The results of the ratings according to a rating table by author were as follows: The incidence of the ratings of 0, 30-50, 50-100 and 100-D showed no difference between male and female. The incidence of the ratings of 0(indicating the average weighted lives) showed gradual decrease with age and the incidence of the ratings of 30-50 and 50-100(indicating the overweighted lives) showed gradual increase with age. These results are thought to be considerably reasonable because the incidence of the builds in each age group is supposed to have no difference by sex and the incidence of the overweighted lives would increase with age.

• Korean Journal of Heritage: History & Science
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• v.53 no.1
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• pp.126-149
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• 2020

Considering significant words that stand for the history of Paleolithic in North Korea, these can be summarized for each decade since the 1960s. The 1960s ought to be when the earliest discovery of a Paleolithic site was made by Korean hands. The 1970s might be the earliest period for textbooks being published that were geared towards increasing general understanding of the Paleolithic era in the Korean peninsula. The 1980s can be summarized as a period of reissued Paleolithic articles from a newly introduced archaeological journal. The 1990s witnessed efforts to formulate nationalistic interpretations about the Paleolithic period in Korea. The 2000s then synthesized several of these aspects of Paleolithic studies. Gulpori, the Paleolithic site that was discovered in the 1960s, holds significance not just because of the discovery itself, but because of its prompt acceptance by North Korean academic authorities. The publications that covered general understanding of Paleolithic archaeology such as Joseon Gogohag Gaeyo, Joseon-ui Guseoggisidae, and Joseonjeonsa: Wonsipyeon in the 1970s hold immense significance themselves, as they demonstrate contemporary achievements. Reintroduction of the archaeological Journal, Joseongogoyeongu in 1986, is the beacon of alleviation of conspicuous effect to the academic sector. During the 1990s, a new emphasis on nationalism influenced Paleolithic studies. In the 2000s, the formally constructed elements of Paleolithic research such as Paleolithic chronology, social evolution, lithic assemblage, Quaternary studies, and human evolution were consistently refined. Metaphorically speaking, these parts are like a polygonal structure. As is the case with a polygonal structure, these research aspects are united and work together. Each part affects the others. Although the content of each research aspect has been altered by either academic growth or sociopolitical agenda, the fundamental part of the polygonal structure is not likely to be changed. The structure is solid enough to continue to serve the purposes of North Korean Paleolithic studies. North Korean Paleolithic archaeology seems to be a juxtaposition; some parts are easily changed while others are not. In order to ascertain these, not only the academic but also the sociopolitical context should be followed.

• Archives of design research
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• v.18 no.3 s.61
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• pp.117-128
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• 2005

The French Belle Epoque is a period where the literary and artistic movement was very activated. The birth of the cubism reflects this atmosphere of the times and the change of paradigm in all fields. The Bergsonism is often designated as one of the important backgrounds of cubism. The problem consists in knowing if Bergsonian ideas gave real influence on the cubist movement and up to what point. Our analysis will show that it is not homogenous and very variable according to painters. In the case of Picasso and Braques it seems be a simple inspiration of Zeitgeist. But the influence upon Metzinger and Gleizes is explicit. The text of 1912, Du cubism, prove their attachment to his thought. The key concept of cubist theory, influenced by Bergsonian philosophy, is the concept of simultaneity. Cubist simultaneity is in one hand a reflection of an artist's psychological experience and the other hand a synthesis of multiple views for grasping the object in itself by the way of conceptual representation. The temporal simultaneity could be identified with the notion of memory, which is a temporal continuity connecting the past to dynamic present. The spatial simultaneity is a juxtaposition of multiple views obtained by the movement around the object. But the dose reading of Bergson's text shows that there is a divergence between the notion of cubist simultaneity and his ideas. The biased interpretation is often, as well as the strict understanding, like the history shows us well, a great source of inspiration and creativity. The cubist mouvement is not far from this case.